Now I have known, O Lord

SKU: HL.14032004

ISBN 9780711947474. UPC: 884088433901. 9x12 inches.

Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumental combination and these varied ensembles are easy and enjoyable too. So much scope for virtually any combination of instruments! The series is successful with recorders, guitars, percussion and keyboard as well as with orchestral groupings. Whether there are five or fifty players, every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each set contains a score plus around 50 parts, each one carefully written to suit the needs of each instrument. For example, easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There are more demanding parts too, for experienced players. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements of well-known titles are a must for every school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites. Edited by Nicholas Hare. In C.

SKU: MB.30963

ISBN 9781513468204. 8.75x11.75 inches.

This exceptional collection of 41 truly beautiful airs and ballads from the British Isles offers both well-known tunes by the prolific blind Irish harpist, Turlough O�??Carolan and rarely heard melodies by anonymous composers; all have stood the test of time. Arranged for soprano or tenor recorder, these include O�??Carolan�??s classically influenced �??Lord Inchiquin�?� and �??Eleanor Plunkett�?� as well as �??O Gentle Dove�?� and �??Cuckoo Dear�?昶?? both examples of the strong tradition of song in Wales. Among other tunes, the haunting modal melodies of �??The Dark Slender Boy�?� and �??Enchanted Valley�?� express the melancholic heart and soul of the British Isles.

A few of these songs have taken on a life of their own in modern times. �??Bonny at Morn�?�, a popular traditional tune of northern England and Scotland, was arranged for soprano voice and harp by the 20th century British composer, Benjamin Britten. �??The Skye Boat Song�?� originally recounted Bonnie Prince Charles Edward Stuart�??s journey to the Isle of Skye after his defeat at the historic Battle of Culloden. Later, the song evolved into a lilting lullaby and was more recently used as the theme song for the popular Outlander television series.

Departing slightly from recorder notation practice, author Marcia Diehl has judiciously arranged these melodies complete with spare slur markings to aid the amateur player in authentically and musically rendering these tunes.

SKU: GI.G-9751

UPC: 785147975106. English. Text Source: Psalm 96:9a. Scripture: Psalm 96:9a.

From 1717 to 1718, Handel composed eleven multi-movement, psalm-based anthems, commonly known as the Chandos Anthems (he was resident composer for the First Duke of Chandos during this period). is setting of verses from Psalm 96 is drawn from Anthem 4b, 窶廾 Sing unto the Lord a New Song窶� (HWV 249b). Chepponis窶� thoughtful editing and arranging of this gem窶巴ased on original sources, as well as practical considerations窶� make it accessible to many choirs that may not have the luxury of a large SATB choir. Listen to the recording and follow along with the score in this preview video:.

SKU: AP.30781

UPC: 038081336381. English.

Who'd have known James Lord Pierpont could have been so hip? This gentle swing treatment of Jingle Bells will bring your holiday in with glee while affording the opportunity to introduce this typical American style to your young band . . . .swingin' all the way! (4:06).

SKU: AP.30781S

UPC: 038081336398. English.

Who'd have known James Lord Pierpont could have been so hip? This gentle swing treatment of Jingle Bells will bring your holiday in with glee while affording the opportunity to introduce this typical American style to your young band . . . .swingin' all the way! (4:06).

SKU: GI.G-9392

UPC: 785147939207. English. Text Source: Based on Psalm 23. Text by John Quincy Adams. Scripture: Psalm 23.

Although best known as the sixth President of the United States, John Quincy Adams窶� great desire was to write poetry, upon hearing his words set to music by one of his contemporaries, he exclaimed his delight 窶彗s the organ pealed and the choir of voices sung the praise of Almighty God from the soul of David, adapted to my native tongue by me.窶� This setting was written for SAB choir, however, it could be sung by an SSA ensemble as well. The tune is original, but Meyer has written in the style of the music that Adams might have heard in his day.

SKU: PR.16500100F

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: 窶廡or the joy of earand eye, For the heart and mind窶冱 delight, For the mystic harmony, Linking sense to sound and sight,窶挌iving rise to the work窶冱 title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said 窶徭omething that窶冱 basically slow,窶� butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren窶冲 just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony 窶� sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and 窶徭hifty窶� than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual 窶弩ere you there?窶� takes over, with a double-time polytonal feeling propelling itforward at 窶彜ometimes it causes me to tremble.窶抖rumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three 窶忻erses,窶拂onstantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is 窶廡or the Beauty of the Earth.窶� This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving 窶� the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the 窶很ey窶� of the hymn seems to shift 窶� until the 窶廰ord of all, toThee we praise窶� melody bursts out in a surprising compound meter. This, as it turns out, was the 窶徇ystery tune窶拮eard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of 窶廡or the Beauty窶� with long spaces between them, but it soonchanges to a series of 窶廣men窶� cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of 窶廡or the Beauty of the Earth窶� contains this quatrain:窶廡or the joy of ear and eye, 窶擢or the heart and mind窶冱 delightFor the mystic harmonyLinking sense to sound and sight窶拌nd it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.